Los Angeles Times' Scores

For 8,560 reviews, this publication has graded:
  • 58% higher than the average critic
  • 4% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Burma VJ: Reporter i et lukket land
Lowest review score: 0 Don Peyote
Score distribution:
8,560 movie reviews
  1. Above all this is a film for gluttons for punishment, for those who never ever can get enough of Sylvester Stallone. Everyone else, please leave the building.
  2. A story that might have been alive with messy complexity is instead genial and polite.
  3. For all its visual surprises and visceral shocks, Lunacy is still the kind of film that is easier to admire than it is to actually like.
  4. The film's scary moments are too monstrous and its happy times have too much idiotic beaming, making the film feel like the illegitimate offspring of "Alien" and "The Absent-Minded Professor."
  5. An affectionate though flawed comedy.
  6. Director Declan Recks underlines every emotion, every brooding pause, working against the spare dialogue with fancy-footwork camera moves and an insistent score.
  7. As to truly exploring the phenomenon of a live-tweeted collective fiction, the documentary makes a couple of intriguing observations but doesn't look far beyond the metrics, content to exult in the wow factor of it all, which admittedly is considerable.
  8. Things are sporadically troublesome about the film. The story goes in and out of being self-consciously earnest and ponderous, a situation that numerous tight close-ups of people's eyes does nothing to help.
  9. Morelli uses plentiful flashbacks drawn from the earlier movie and television series that are at times intrusive to the narrative but eventually serve to deepen the relationship of Ace and Laranjinha.
    • 63 Metascore
    • 50 Critic Score
    Tries to make larger points, but it trips over itself just trying to make the small ones.
  10. Contrivance and a horrendous body count combine to yield a morbid effect for discriminating filmgoers, despite a comic tone. Still, there's enough ingenuity and scariness to please plenty of fans of the first film.
  11. An earnest gang-warfare melodrama that may make some Chan fans long for "Rush Hour 4."
  12. The history lesson is often framed in stagy exchanges of dialogue, diluting the strong sense of place.
  13. When Udo Kier is the sanest person around, you know you're in strangeville.
  14. For a movie about art and artists, it's not a particularly visually inspired or vibrantly crafted work. Still, Foulkes... holds interest with his off-kilter narcissism, obsessive creative process and frank views on his place — or lack thereof — in the art world.
  15. Whether the con is truly on or the filmmakers have simply taken an awful lot of poetic license where the post-Michael Moore documentary format is concerned, moviegoers certainly have less amusing ways to be bamboozled.
  16. Cailley never truly builds a narrative head of steam, resulting in periods of logy pacing and diffused focus. Still, the strong leads, several amusing moments and a clutch of intriguing character bits sketch what might have been.
    • 63 Metascore
    • 60 Critic Score
    Its individual moments are quite seductive. But if there is a deeper meaning — of what it means to hit the rails in the 21st century, to peer into America's de-industrialized guts — it lies well beyond the scope of this film.
  17. Midway through The Lost Boys there's a brief scene that suggests the magic and power it could have had. This scene suggests a fable of seductive evil-but nothing in the movie is ever half as evocative again. It's more lost than the Boys: a glossy fiasco with most of the real blood sucked out of it.
    • Los Angeles Times
  18. As Julia struggles to survive her bad decisions, the film struggles to survive Julia. We never get a good look at her demons, just the havoc they wreak.
  19. Written with his trademark artfulness, nicely acted and gorgeously pretty, Tequlia Sunrise finally blows away into slick unsubstantiality. [2 Dec 1988, p.1]
    • Los Angeles Times
  20. Cinematically, though, After the Cup lacks the intimacy and narrative focus needed for a more wholly involving experience.
  21. Diverting and sometimes humorous but sticks to the superficial ...not distinctive enough to make much of an impression.
  22. By the time you've gotten through it, you feel spent, loaded down and more than a little disoriented. Part of the problem is that the movie's big concepts - violence begets violence, absolute power corrupts absolutely, everything is connected, my terrorist is your freedom fighter, etc. - are pithy, brief and irrefutable enough to embroider on throw pillows.
  23. This overly derivative motion picture thinks it is doing and saying more than it is. Instead, it ends up as little more than a reasonable facsimile of the real thing, despite a subtle and effective performance by Ben Affleck, of all people.
  24. Too many of the characters are either good or bad, and that loss of nuance is missed.
  25. 42
    Robinson's combination of fortitude, restraint and passion for the game was stunning. You can't help getting caught up in this story, even as you are wishing the telling was sharper than it is.
    • 62 Metascore
    • 40 Critic Score
    What the new movie lacks in craft, suspense and metaphoric richness it makes up for with, um, gadgets.
  26. In some sense, California Solo is like meeting an engaging stranger: At first there's a certain air of enigmatic mystery that makes you want to spend time with them, but eventually things turn awkward and you just want to get away.
  27. A dark piece of whimsy that enchants and befuddles in equal measure.

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